Los Angeles Times' Scores

For 10,607 reviews, this publication has graded:
  • 57% higher than the average critic
  • 6% same as the average critic
  • 37% lower than the average critic
On average, this publication grades 1.6 points lower than other critics. (0-100 point scale)
Average Movie review score: 61
Highest review score: 100 Distant Voices, Still Lives
Lowest review score: 0 Nothing Like the Holidays
Score distribution:
10607 movie reviews
  1. The largely improvisational approach as well as the limited settings and story arc also undercut the picture’s deeper dramatic potential — despite a powerful, beautifully performed finale.
  2. Overall, Charlie Wilson's War is glib rather than witty, one of those films that comes off as being more pleased with itself than it has a right to be. It also suffers from being not all of a piece, with mismatched elements struggling to cohere.
  3. The Underneath doesn't add up. Made with polish and assurance, capably acted and intricately constructed, its overall impact is less than these parts would indicate. It is good but, against all logic, it is not good enough.
  4. Tears of Gaza is both horrifying and frustrating. This documentary's goals are noble ones, but its execution is something else again.
  5. Sophie Deraspe's film is a compelling anatomy of an Internet hoax.
    • 69 Metascore
    • 50 Critic Score
    I'd like to think the earnest sentiments and machine-tooled dramatic complications of Wells' script could find a receptive audience in late 2010. I'd like to think, too, that the mess we're in demands a gutsier script. Good cast, though.
  6. There are moments of beauty here, but not enough to make up for the mannered dialogue and hamstrung performances. Persons attempting to find a motive in this narrative won't be prosecuted, but they'll probably be disappointed.
    • 69 Metascore
    • 60 Critic Score
    If the journey is familiar, at least the company is good.
  7. The Birth of a Nation certainly has the power of conviction, but the grace of art escapes it.
  8. If anything, the film is a reflection of the Web zeitgeist, where observation comes easily but insight is rare. What saves the documentary from becoming a complete frustration is the sheer, stunning prescience of Harris.
  9. As it stands, "Terms" proves too uncertain.
  10. A tract, a dry rerun of Cry Freedom, with none of that film's visual sweep (whatever else its faults) and with nothing new to tell us. It's filled with obvious, earnest performances--Marlon Brando's ironic and subtle one is the only exception--and unresonant writing.
  11. The problem is that the first half of Infamous is nowhere near as comic as McGrath intends. Instead the picture gives off a tone of arch stylization that plays as artificial, overwrought and off-putting.
  12. To see this overly schematic movie, is to be made to feel -- inaccurately as it turns out -- that the whole thing is a hopelessly exaggerated fabrication. The taint of the melodramatic techniques used in key segments infects the entire movie and makes us question the truth of a significant historical reality.
  13. Unfortunately, there’s not enough story here to warrant the film’s more than two-hour running time; 90 taut minutes tracking a week in the ruined tunnel would have sufficed. Still, it’s a vivid and relatable tale.
  14. Landis has acknowledged mental issues in interviews, and it registers so much more on film. The constant scrutiny of a camera seems exploitative and cruel, even if you are at all suspicious when he rationalizes his behavior as childlike mischief.
    • 68 Metascore
    • 50 Critic Score
    Much of its strength resides in the way it eschews narrative contrivance. The movie observes behavior without explaining or judging it.
  15. On the whole, Chain Camera is encouraging.
  16. Spectacularly grotesque and literally nauseating, even for this usually intrepid moviegoer, In My Skin is among the more disturbing films in this blood-drenched cinematic season.
  17. As for the so-called "food compositions" seen here, like the film itself, they're more impressionistic and artistic than enticing. For a far more satisfying cinematic meal, check out the similarly themed "Jiro Dreams of Sushi."
  18. Like the Coen brothers at their least convincing, the mix of low-grade depression and amped quirkiness never shakes off the feel of self-conscious posturing.
  19. Undeniably clever and inventive, Babe: Pig in the City has nevertheless sacrificed part of the freshness and buoyancy that made the original "Babe" so luminous. This sequel is more elaborate, more calculated and more self-consciously dark than its deservedly beloved predecessor.
  20. The film's bigger problem is that after a certain point the way in which Evans allows DeNoble to narrate his own story comes to feel self-congratulatory and makes Addiction Incorporated seem a bit more like an advertisement or an endorsement than an investigation or exploration.
  21. Never tries to confuse our loyalties or question the strategies of our hero or bring home the all-embracing soul-destroying horrors of war for all sides. Braveheart may be rip-roaring, but it isn't all that brave.
  22. Numerous good things can be said about Apocalypto, the director's foray into the decaying Mayan civilization of the early 1500s, but every last one of them is overshadowed by Gibson's well-established penchant for depictions of stupendous amounts of violence.
  23. If we'd never seen another film on the horrors of apartheid, all this might have been more impressive, but we have and it isn't.
  24. Less than the sum of its parts. The connective tissue of its episodes and set pieces -- some of which pack a memorable punch -- is not a compelling story line but the painterly physicality of the movie's stop-motion animation.
  25. Succeeds best when it intensifies its focus on the work and life of its main subject, seen in interviews, home movies and in a climactic performance with Bono and the Edge on "Tower of Song."
  26. Although Born Romantic is sweetly intentioned and staunchly on the side of love, it meanders long to enough to alienate whatever affection it otherwise earns.
  27. Unfortunately, Dylan Mohan Gray's slow and steady exposé never quite manages the propulsive gut punch its incendiary subject demands.

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